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The Doctor of Myddfai

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The Doctor of Myddfai THE DOCTOR OF MYDDFAI OPERA IN TWO ACTS Matthew Epstein is a legend in his own lifetime. He worked at CAMI (Colombia Artists Management Inc.) in New York, the most powerful agency in the music industry, as head of the singers division. He acted as mentor and counsellor to numerous singers, past and present, and launched and developed the careers of such singers as Frederica von Stade, Catherine Malfitano, Samuel Ramey, Kathleen Battle and Renee Flemming. He was constantly advising opera houses on their casting. I had never come across him personally although I had considerable dealing with CAMI in connection with touring The Fires of London in the USA in 1983 and 1985, and with the Scottish Chamber Orchestra in 1988. And so it was with considerable surprise that I received a phone call in May 1992 from Matthew Epstein himself informing me that he was to become the new chief executive and artistic director of the Welsh National Opera, and that he wanted to discuss something with me. Well, it didn’t take much for me to work out that he would probably want to commission Max, and my heart sank. September 1988 had seen the premiere of Max’s opera Resurrection in Darmstadt in Germany. Max had been thinking about this opera since his days of his Harkness Fellowship to Princeton University in 1962- 1964, but the plan had not been realised until all those years later. And Resurrection had proved to be a disaster. The director had taken no notice whatsoever of Max’s own libretto and stage instructions, and what had emerged was an entirely different animal. Max was totally shattered by the experience. Almost all of his previous dramatic works had been hugely successful and Max had a world-wide name for writing music for the stage which really worked. But it definitely had not worked at Darmstadt, and Max vowed that he would not write any more dramatic works because it was just too dangerous. Max was by no means the only composer to have suffered in this way at the hands of wilful directors. So when I finally had my meeting with Matthew Epstein, and he put the proposition to me that he wanted to commission Max to write an opera for him at the Welsh National Opera, I told him that this was never going to work. The reason why Matthew was so overwhelmingly enthusiastic about Max was due to Ben Heppner. He was the Canadian tenor who had come under Matthew’s wing, and, at the start of his career had sung the tenor role in Max’s opera The Lighthouse in the production under the auspices of the Guelph Festival which had toured across Canada and had given several performances at the Expo in Vancouver in May 1986. Matthew had seized upon this and had decided that having a new work from Max for his Welsh National Opera was what he wanted to do. I carefully explained the situation to Matthew, and thought that that would be the end of the matter. But Matthew is not one to be put off merely by obstacles in the path of what he wants to achieve. After some time he returned back to me with a startling proposal. What would Max think of the idea of having the proposed director in on the project from the very beginning, and that this director would create a libretto together 1 with Max? I liked the sound of this very much, and put it to Max, who, likewise, began to see glimmerings of a possibility of something that might work. He told me to tell Matthew to go ahead and to suggest someone for consideration. Matthew returned quickly with a name – David Pountney. David was of course extremely well known across the operatic world. He had been part of the famous triumvirate which ran the English National Opera during what is now universally acknowledged as its golden era. Previous to that, David had worked extensively at Welsh National Opera and at Scottish Opera, and was always enthusiastic about bringing new and lesser known operas to the public. David Pountney sounded like an exceedingly good idea, and the next stage was to bring him together with Max. This meeting took place at my flat, and both David and Max liked each other, and they decided that they would give it a go exactly along the lines which Matthew had indicated. The idea was that they would jointly come up with an idea for what the opera would be about. Matthew was insistent that whatever the topic, it must be Welsh. Nothing else would do. Max had always had ideas for the topics he wanted to write a dramatic work. In fact they burnt holes in his head. On this occasion it was David who came up with the idea. In fact, the idea had come from a suggestion from a friend of his wife Jane. This friend had put forward the idea of a myth (or legend) in a location of a village called Myddfai which is on the edge of the Brecon Beacons in Wales. The legend roughly goes thus: Once upon a time a shepherd was with his flock beside a lake. A beautiful girl appeared in the lake, and he fell in love with her. After passing the test of distinguishing her from her two sisters, he was allowed to marry her, on the condition that if he struck her three times, she would return to the lake, taking with her all the wealth she had brought him. During their life together, he did strike her three times, and she returned to the lake, but she left him and his descendants the gift of her healing powers. They became the Doctors of Myddfai. Everyone was delighted with the subject for the opera, and the idea was that David and Max would collaborate all along with the writing of the libretto. But this did not happen. David wrote the libretto in its entirety, sending drafts to Max as he went along for approval, all of which were accepted without demur. In fact, David later joked that he had hoped that he would be entering into an acrimonious correspondence concerning the libretto which he would later be able to publish. There was no acrimony at all. Matthew’s period to become the director of Welsh National Opera commenced officially in 1991. The agreement for the opera was confirmed in 1993, and the date for the premiere was set for June 1996. Michael, my husband, arranged the contract, which was for the largest amount of money that Max had ever had Yes, it was all a long way ahead, but then that is entirely par for the course with these kinds of commissions. Everyone gets excited about what is going to happen, and then they all go off to their own busy lives, working their way through things that have been set in motion several years previously.. Max was frantically busy completing the ten concertos he was writing for the Scottish Chamber Orchestra, and he also had commitments with the Royal Philharmonic Orchestra and the BBC Philharmonic Orchestra, for both of which he had become Composer/Conductor. 2 It was a great shock to learn that Matthew Epstein was to leave Welsh National Opera in 1994. Clearly things had not worked out in the way either Matthew or the company wanted. This meant that it would be an entirely new person who would be taking over the reins concerning the commission. This person turned out to be Anthony Freud. He has worked at the WNO previously but his most recent job was Executive Producer of Opera for the Phillips Label in the Netherlands. Alison Riach was the continuity person, having been previously been assistant to Matthew and then to Anthony Freud. Virtually all my communications were with Alison. But most of the activity was with David Pountney, as it was he who was putting the production together. That was, after all, his job. And I must say that it was with the greatest relief that all the administrative part of the commission was in the hands of someone who knew exactly what he wanted and how to go about getting it. David had a vast knowledge of singers, of designers, of lighting designers, and he was able to call on them. He always conferred with Max who was more than happy to concur. From my point of view, I was greatly relieved that the burden of finding and processing people for the jobs connected with a dramatic production was now entirely out of my hands. David asked that Max should listen to the singer who was proposed in the role of the doctor. This was arranged when Max would be participating at the Cheltenham Festival in 1995 and the young Paul Whelan from New Zealand came to sing to Max after one of the performances at the festival. Otherwise all the positions passed through on the nod. I had one extremely disagreeable task, and that was to make a special journey for a meeting with Anthony Freud and Alison Riach. The purpose of this meeting was to inform them that Max was behind with his schedule for writing the opera, and, indeed, of completing the opera. This was very unusual. Max was extremely professional, and he always delivered on time. This was over a period of decades and covering a very large number of works. The only time that such a circumstance had occurred previously was in connection with Resurrection for Darmstadt.
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